The aim of this study was to evaluate the usability, defined as the effectiveness, efficiency and satisfaction, of the prototype of the DTTSQ for Dutch physical therapy patients with diverse levels of education and experience in using mobile technology.
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Background: The Turkish translation of the Dutch Talking Touch Screen Questionnaire (TTSQ) has been developed to help physical therapy patients with a Turkish background in the Netherlands to autonomously elucidate their health problems and impairments and set treatment goals, regardless of their level of health literacy. Objective: The aim of this study was to evaluate the usability of the Turkish TTSQ for physical therapy patients with a Turkish background with diverse levels of health literacy and experience in using mobile technology. Methods: The qualitative Three-Step Test-Interview method was carried out to gain insight into the usability of the Turkish TTSQ. A total of 10 physical therapy patients participated. The interview data were analyzed using a thematic content analysis approach aimed at determining the accuracy and completeness with which participants completed the questionnaire (effectiveness), the time it took participants to complete the questionnaire (efficiency), and the extent to which the participants were satisfied with the ease of use of the questionnaire (satisfaction). The problems encountered by the participants in this study were given a severity rating, which was used to provide a rough estimate of the need for additional usability improvements. Results: No participant in this study was able to complete the questionnaire without encountering at least one usability problem. A total of 17 different kinds of problems were found. On the basis of their severity score, 3 problems that should be addressed during future development of the tool were “Not using the navigation function of the photo gallery in Question 4 causing the participant to not see all presented response items;” “Touching the text underneath a photo in Question 4 to select an activity instead of touching the photo itself, causing the activity not to be selected;” and “Pushing too hard or tapping too softly on the touch screen causing the touch screen to not respond.” The data on efficiency within this study were not valid and are, therefore, not reported in this study. No participant was completely satisfied or dissatisfied with the overall ease of use of the Turkish TTSQ. Two participants with no prior experience of using tablet computers felt that, regardless of what kinds of improvement might be made, it would just be too difficult for them to learn to work with the device. Conclusions: As with the Dutch TTSQ, the Turkish TTSQ needs improvement before it can be released. The results of this study confirm the conclusion of the Dutch TTSQ study that participants with low levels of education and little experience in using mobile technology are less able to operate the TTSQ effectively. Using a Dutch speaking interviewer and Turkish interpreter has had a negative effect on data collection in this study.
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This article focuses on the role of the artistic process in connecting to the natural environment. In my research I have explored what participants experience and learn when they engage in different types of arts-based environmental education (AEE) practices that I have facilitated. The premise of AEE is that efforts to learn about our (natural) environment can effectively take their starting point in an artistic activity, usually conducted in groups. I found that, on the whole, two major orientations can be distinguished. One starts from the point of aesthetic sensibility: the tuning in with the senses, or with ‘a new organ of perception’ (Goethe), in order to perceive ‘the more than human’ with fresh new eyes. This tradition can be traced back (but is by no means limited) to the Romantic Movement. Art in this context may help to amplify the receptivity of the senses and strengthen a sense of connectedness to the natural world. The other major orientation in seeking bridges between nature and art builds on a view of artistic process as leading to unexpected outcomes and ‘emergent properties’. The fundamentally singular experience of making a work of art may evoke an aesthetic object that becomes a ‘self-sufficient, spiritually breathing subject’ (Kandinsky). The artwork can be spontaneously generative and multilayered with meanings, some of which may even be ambiguous and paradoxical. But perhaps more importantly: it can catch the participant of an AEE activity by surprise, overwhelm him or her as ‘coming from behind one’s back’. The element of improvisation, of taking in the new and unanticipated and accommodating for it, is the core quality here. These two orientations, when practiced as part of AEE, have implications on how we relate to nature through art. In the closing of this article I address the question of whether it is possible to bridge the dualism between the two orientations.
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-Chatbots are being used at an increasing rate, for instance, for simple Q&A conversations, flight reservations, online shopping and news aggregation. However, users expect to be served as effective and reliable as they were with human-based systems and are unforgiving once the system fails to understand them, engage them or show them human empathy. This problem is more prominent when the technology is used in domains such as health care, where empathy and the ability to give emotional support are most essential during interaction with the person. Empathy, however, is a unique human skill, and conversational agents such as chatbots cannot yet express empathy in nuanced ways to account for its complex nature and quality. This project focuses on designing emotionally supportive conversational agents within the mental health domain. We take a user-centered co-creation approach to focus on the mental health problems of sexual assault victims. This group is chosen specifically, because of the high rate of the sexual assault incidents and its lifetime destructive effects on the victim and the fact that although early intervention and treatment is necessary to prevent future mental health problems, these incidents largely go unreported due to the stigma attached to sexual assault. On the other hand, research shows that people feel more comfortable talking to chatbots about intimate topics since they feel no fear of judgment. We think an emotionally supportive and empathic chatbot specifically designed to encourage self-disclosure among sexual assault victims could help those who remain silent in fear of negative evaluation and empower them to process their experience better and take the necessary steps towards treatment early on.
We had been involved in the redesign of the 4 Period Rooms of the Marquise Palace, also called the Palace of Secrets, in Bergen op Zoom. This design was based on the biography of a historical figure: Marie Anne van Arenberg, whose dramatic life was marked by secrets. Each of the 4 rooms represents a turning moment in Marie Anne’s story: the official marriage, the secret marriage and the betrayal, the dilemma and choice, with, in a final room, the epilogue. These different episodes are reflected in the way the rooms are furnished: the ballroom, the bedroom, the dining room. The Secret Marquise as design and exhibition has brought more visitors to the museum. As designers and researchers, however, we were interested in understanding more about this success, and, in particular, in understanding the visitors experience, both emotionally and sensorially at different moments/situations during the story-driven experience.In the fall of 2021, the visitors’ lived experience was evaluated using different approaches: a quantitative approach using biometric measurements to register people’s emotions during their visit, and a qualitative one consisting of a combination of observations, visual imagery, and interpretative phenomenological analysis (IPA).Qualitatively, our aim was to understand how respondents made sense of Marie Anne’s story in the way in which this was presented throughout the exhibition. We specifically looked at the personal context and frame of reference (e.g., previous experiences, connection to the visitor’s own life story, associations with other stories from other sources). In the design of the rooms, we used a combination of digital/interactive elements (such as a talking portrait, an interactive dinner table, an interactive family painting), and traditional physical objects (some 17th century original objects, some reproductions from that time). The second focal point of the study is to understand how these different elements lead the visitors experience.
Het aantal personen dat onder bewind staat is tussen 2009 en 2018 ruim verdubbeld van 97.000 naar 242.000 personen. Het probleem is dat bewindvoerders per cliënt 17 uren per jaar hebben, wat vaak net voldoende is om de financiële zaken te regelen. De sociale cohesie en het aanleren van financiële competenties schiet hierdoor te kort, waardoor dit grote gevolgen heeft voor de relatie onderling. Bewindvoerders en financiële hulpverleners zijn opzoek naar nieuwe manieren om personen onder bewind/financiële problemen in beweging te krijgen, te motiveren en het gedrag positief te beïnvloeden. Dit tot doel dat ze de drie kerncompetenties voor financieel zelfredzaamheid die door het Nibud zijn vastgelegd stap voor stap aanleren en in de praktijk kunnen toepassen. In de afgelopen 2,5 jaar hebben de projectpartners verschillende onderzoeken uitgevoerd. Tijdens de Take-off hbo is de doelstelling om de resultaten en onderzoeken met bewindvoerders en personen onder bewind, uit te werken tot de prototype Talking Money dat kan worden getest met bewindvoerders en overige belanghebbende.
